The beam for between the 2nd and 3rd note is dashed, the 3rd note smaller
and the phrasing slur is dashed too.
-Original Message-
From: lilypond-user-bounces+robert.64=dbmail@gnu.org
[mailto:lilypond-user-bounces+robert.64=dbmail@gnu.org] On Behalf Of
Jonathan Kulp
Sent: 02 June
for the precious help.
Robert
-Original Message-
From: Wilbert Berendsen [mailto:lily...@xs4all.nl]
Sent: 02 June 2009 14:57
To: lilypond-user@gnu.org
Cc: Jonathan Kulp; Robert
Subject: Re: Optional notation
Op dinsdag 02 juni 2009, schreef Jonathan Kulp:
> \version &quo
I have searched the documentation, but could not find a solution for
creating an open ended slur at the end of a repeat. The open ended slur to
indicate that it ties back to the slur at the beginning:
Open ended slur
To tie back to:
Any suggestions?
Thanks,
Robert
I have Windows Vista Version6.0.6002 Service Pack 2 Build 6002.
I installed Lilypond 2.16.2 and I have since been unable to get Lilypond to
run successfully. Whenever I start Lilypond, the executable appears to start
up, but does not apparently make any progress. It just sits there after
I am created a lead sheet consisting of words, chords, and melody in the key
of C. The bridge has these chords:
fis2:m7 b2:7 | e2:maj7 cis2:m7 |
In the key of C they appear okay in the pdf as: F#m7 B7 Etriangle C#7
but when I transpose it from C to B th
I'm the (newbie) person whose post instigated this thread. I faithfully
applied the advice given, but alas the result was not satisfactory. The lead
sheet is a classic example of the worst possible case: The "A" section starts
with I VI II V. The "B" section transposes the "A" section in
ll try to learn more about the SCHEME language so I can better
understand the SCHEME hack I was first pointed to. Another avenue I would like
to pursue is creating my own fonts for chords. I don't know where to begin
however, so if anyone has pointers on how to start, I would appreciate
anks in advance for any help.
Greetings
Robert Waniek
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I'm having trouble avoiding collisions in the following case, can anyone point
me at some relevant documentation or example code?
\version "2.10.25"
\layout{
ragged-last = ##t
}
\score{{
\time 2/4
%% grace notes collide with the triplet beam here:
gis'8[ cis''] \appoggiatura{ gis'16[
Dear all,
I have the following problem:
When hiding staves via "\RemoveEmptyStaffContext" I
get unwanted barlines between the Lyrics.
Please find below a (somehow) minimal example where
the problem can be seen in the second line.
Thanks for any hints or solutions,
Rober
\paper block and the attached
image.
I am using 2.11.34 on Linux. The version I used before
(2.11.34) did not produce this unwanted space.
Any suggestions?
Best regards,
Robert
\paper {
#(set-paper-size "a4")
line-width = 17.0\cm
top-margin = .8\cm
bottom-margin = 1.2\cm
Am Freitag, 18. Januar 2008 11:16 schrieb Robert Memering:
> I am using 2.11.34 on Linux. The version I used before
> (2.11.34) did not produce this unwanted space.
Typo here, my current version is of course 2.11.37.
Robert
--
Robert Memering
Arbeitsbereich Linguistik, Universität M
Stem #'extra-offset = #'( -10.5 . 0 )
> }
> b4 c2 g |
> }
> \tag #'nor { g1 \fakeLiga d\startGroup \melisma a'2.\stopGroup b4 c2 g |
> }
>
> Anyone having a better solution?
>
> Regards,
> /Karl
Hi Karl,
very tricky solution.
Howe
g: Datei oder Verzeichnis nicht gefunden
mktexpk: `mf-nowin -progname=mf \mode:=dpdfezzz; mag:=0+7600/8000;
nonstopmode; input parmesan20' failed to make parmesan20.7600pk.
dvips: Font parmesan20 not found, characters will be left blank.
.
[1] [2] [3] [4] [5] [6] [7] [8]
s to Bo Herlin, but this "solution" didn't
work for me (I had even tried similar soft-link solutions
myself before).
If any of the developers is interested, see below for the
output of the score that doesn't compile.
Regards,
Robert
lilypond sicongieprens-neu.ly
GNU
ile a bug report for this. But
I agree with that I should have done it in the first place.
Again, thanks everyone for the response,
Robert
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7;font-size = #1
\override Score.BarNumber #'extra-offset = #'(1 . 1)
When I deleted the second "0.25" argument it worked.
As for the one-line-staff bug: Any news? Did you reproduce it?
Best regards,
Robert
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File "/usr/local/bin/mftrace", line 926, in make_outputs
simplify_cmd ='''SelectAll ();
ValueError: unsupported format character '
' (0xa) at index 54
make[1]: *** [out/feta11.pfa] Error 1
[...]
Any help would be much appreciated,
Robert
_
the latest 2.5.xx
> versions.
>
> /Mats
>
Is it possible to get text with font metrics/kerning using
the 2.5.x versions? If yes, the reasons for still wanting to
use the TeX backend are indeed strange.
If not, they're obvious. I switched back to 2.4 because of that.
Robert
wen/...lib, etc.).
As a workaround, you could just print your PDFs into PS-files
from acroread. If doing this by hand for every file is too cumbersome,
you can use acroread on the command line and write a small script
for "batch-mode".
Robert
__
cs/site-lisp ).
You have to make sure that lilypond-init.el is loaded. For my
GNU Emacs I added the following line in "site-start.el":
(load "lilypond-init.el" t t)
Maybe this doesn't work with XEmacs but it should be similar.
Regards,
Robert
_
rtical space on otherwise empty pages.
This would indeed be great!
Robert
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t that looks like poor MS Word output.
Is there any way to get the old Text quality back?
Thanks in advance,
Robert
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packages (up to 2.7.27, I think) always worked well on
my SUSE 9.3 system.
I could not find any information about this new installer on the website, so
any information about what it does (or should do) and how to solve my problem
would be welcome.
Thanks,
Robert
Opened Lilypond.app 2.8.2-4 for the first time today.
Saved the opening file, chose Compile > Typeset file , as instructed,
but received "unexpected" error
message: "(OSError: [Errno 8] Exec format error)"
What can I do?
Computer: Apple Powerbook G4, OS 10.4.5
Lilypond.app dragged to Applicat
ce text, I'd be grateful for any hints.
Regards,
Robert
\version "2.9.6"
\include "deutsch.ly"
#(set-global-staff-size 18)
\paper {
#(set-paper-size "a4")
left-margin = 2\cm
indent = 2\cm
line-w
g 2.9.14 (Linux)
Regards,
Robert Memering
\version "2.9.14"
\include "deutsch.ly"
#(set-global-staff-size 18)
\paper
{
#(set-paper-size "a4")
indent = 30\mm
left-margin = 2\cm
indent = 2\cm
line-width = 17\cm
% after-title-space = 1.
-offset, again no effect. The only thing I can
tweak is the X-offset.
Any suggestions?
Regards,
Robert Memering
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was to copy them to a directory
in my emacs lisp path and put
(load "lilypond-init.el" nil t t)
in my .emacs file.
Robert Memering
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pport for mensural notation
in lilypond. I won't have the time to actually contribute
code or graphics, but as a musicologist with special interest in
14-16th-century notation I could help with advice or
comments if needed.
Robert
--
Robert Memering
Arbeitsbereich Linguistik, Universität
Can anyone recommend a more elegant way to force the second of a pair
of tied notes to display an accidental? I have been using constructions
such as this:
\score{{
#(set-accidental-style 'forget)
\clef bass
<<
{
\override NoteHead #'transparent = ##t
\override Stem #'t
ems like a documentation bug that there is no example
and no discussion of how to do this.
If anyone can show me the right way, I'll be very grateful! Thanks in
advance!
-- Robert Kennedy
\header{
title = "Bouncing with Bud (Bebop in Pastel)&q
there is no chord symbol
underneath it. But even the second one is too high.
How should I fix that? Below is my little example file as it stands
now.
Many thanks!
-- Robert
\header{
title = "Bouncing with Bud (Bebop in Pastel)"
comp
u'd like to try and see if it really
works for you.
Again, many thanks for helping!
-- Robert
\header{
title = "Bouncing with Bud (Bebop in Pastel)"
composer = "Earl Rudolph \"Bud\" Powell"
entered
Late last night I wrote:
> This looks like it should work, and LP accepts it OK, but it doesn't
> have any effect...
Embarassingly, now it seems to work. I must have been having some kind
of version control problem when I wrote that. Many thanks to everyone
who helped!
-- Rob
esn't work. I still get a light, straight
line. How do I get correct glissando notation?
-- Robert
P.S. I really *love* the output I get from Lilypond but even (dare I
say it?) Finale gets this particular piece of notation more or less
right.
y setting some
property will have no effect, and (hopefully) what different property
or object I should use instead. There must be a way better than
guessing. How can I learn about it?
Thanks in advance for any help!
-- Robert Kennedy
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hanks!
-- Robert Kennedy
\header{
title = "Bouncing with Bud (Bebop in Pastel)"
composer = "Earl Rudolph \"Bud\" Powell"
enteredby = "Robert Kennedy"
style = "jazz"
tagline = "&qu
es no
horizontal space, but does take vertical space.
Thanks for any help with this!
-- Robert
\header{
title = "Bouncing with Bud (Bebop in Pastel)"
composer = "Earl Rudolph \"Bud\" Powell"
ent
rresponding \mark command, i.e it appears above the
> chords.
Thanks for the information! I wonder, though, how I can get it to
appear *below* the chords, which is not how lead sheets are often
done, but I think it might be better in some situations.
-- Robert
tion but it
> didn't look right to me, as I'm not used to to seeing it done that way, so
> I went back to the default.
Yeah, I prefer the straight-line option over the zigzag, too.
Many thanks again!
-- Robert
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he "export" command to
setenv PYTHONPATH /Users/ssanders/Documents/Lilypond\ stuff/LilyPond\
2.11.x/Lilypond.app/Contents/Resources/share/lilypond/current/python
Hope this helps!
-- Robert
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following files disappears. How do I
get them both to appear in the right places?
-- Robert Kennedy
--
\new Staff { c''1
\once \override Score.RehearsalMark #'break-visibility =
#begin-of-line-invisible
unnecessary blank space. Thanks for the tip, though.
> You already know how to move
> these things horizontally using extra-offset. However, you maybe don't
> know that you can also use
> \once \override TextScript #'self-alignment-X = #-0.8
That's very good to
ng of the next
line.
Generally things should work without funny special breakage even if we
cannot imagine how they would be used. If things work, someone will
find a legitimate use for them.
-- Robert
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I wrote:
> Werner wrote:
> > Robert wrote:
> > > I want a rehearsal mark at the end of one line, and a different
> > > rehearsal mark at the beginning of the next line.
> > Hmm. I've never seen this before. I assume that you use the
> > RehearsalM
ding the wrong way, what is the right way?
-- Robert
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> That's also solve in the latest development versions.
How stable are the development versions? If I try using them, will I
be happy or more frustrated?
Many thanks for your advice!
-- Robert
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lilyp
e end of one line, and a letter
inside a box as a rehearsal mark at the beginning of the following
line.
Of course if that point in the music happens to come in the middle of
a line instead, I want the two marks typeset next to each other.
Is there a good way of doing
Hi all,
is there an easy way to set the vertical distance of
a lyrics line from the corresponding staff?
In my score the lyrics are too far away from the
staff.
Lilyond 2.11.18 on SUSE 10.2
I can send the source if this is non-trivial.
Best regards,
Robert Memering
,
Robert
--
Robert Memering
Arbeitsbereich Linguistik, Universität Münster
Hüfferstraße 27, D-48149 Münster, Germany
Raum 01.85, Tel. +49-251-83-31958
http://santana.uni-muenster.de
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http
Am Montag, 19. Februar 2007 22:33 schrieb Trevor Bača:
> On 2/19/07, Robert Memering <[EMAIL PROTECTED]> wrote:
> > Hi all,
> >
> > is there a way to set the vertical distance
> > between staves of a system to a fixed value,
> > regardless of what happens
Am Dienstag, 20. Februar 2007 17:10 schrieb Trevor Bača:
> On 2/20/07, Robert Memering <[EMAIL PROTECTED]> wrote:
> > Am Montag, 19. Februar 2007 22:33 schrieb Trevor Bača:
> > > On 2/19/07, Robert Memering <[EMAIL PROTECTED]> wrote:
> > > > Hi all,
}
> \lyricmode{ Here is some text }
>
>/Mats
>
Thank you very much!
I wouldn't have imagined that a spacing value
could be set to "false" :-)
Regards,
Robert
--
Robert Memering
Arbeitsbereich Linguistik, Universität Münster
Hüfferstraße 27, D-48149 Münster, Ger
erride the size of these accidentals?
I tried overriding some properties of the
AccidentalSuggestion object (size and font-size),
but it had no effect.
Regards,
Robert
--
Robert Memering
Arbeitsbereich Linguistik, Universität Münster
Hüfferstraße 27, D-48149 Münster, Germany
Raum 01.85, Tel. +
um-Y-extent
to #f, does not work. (This was the solution you gave
in a recent thread.)
So I'll have to accept the wrong accidentals as
the lesser evil...
... or is there any way to manipulate their size in
some other way?
Regards,
Robert
--
Robert Memering
Arbeitsbereich Linguistik, Univer
gt;
> Thanks, Lara Diamand
>
Hi,
I use a StaffGroup with
\override StaffGroup.SpanBar #'transparent = ##t
and then, at the very end of one voice:
\override StaffGroup.SpanBar #'transparent = ##f
\bar "|."
Regards,
Robert
--
Robert Memering
Arbeitsbereich Lingu
ngly used
for a line of music (i.e. set of staves), like the English term.
Regards,
Robert
--
Robert Memering
Arbeitsbereich Linguistik, Universität Münster
Hüfferstraße 27, D-48149 Münster, Germany
Raum 01.85, Tel. +49-251-83-31958
http://santana.uni-muenster.de
How do I move the chord symbols up from the staff in a lead sheet? The
chord symbols come very close to the textscripts and I want to move
them apart. Thanks!
-- Robert
P.S. Version 2.10.14.
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But your suggestions seem to apply to the entire score. How can I
change the spacing between chords and staff for just one printed line?
Thanks!
-- Robert
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finitum.
Thanks,
Robert
\header {
dedication = "November 12, 2004"
title = "Bob and Barbara's Wedding"
subtitle ="composed: 27. October, 2004"
source = ""
composer ="Robert E. Jamison"
enteredby = "rej"
In the Menuet in chapter 7 of AM Bach's notebook from 1725 there is an
optional triolet
I don't seem to be able to work out how to get this into the score.
Any suggestions?
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Hi Francesco,
try adding
\layout {
\context {
\Voice
\consists "Horizontal_bracket_engraver"
}
}
Best,
Robert
Am 10/20/12 12:36 PM, schrieb Francesco Spiga:
Hi everyone,
I should need a dashed horizontal bracket.
I have tried with
\override HorizontalBrack
s easy:
fn = #(define-music-function (parser location myChord) (ly:music?)
#{
$myChord
#}
)
Is it possible to add a markup part to display myChord verbatim?
Thanks in advance!
Best,
Robert
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Am 10/22/12 7:42 PM, schrieb David Kastrup:
Robert Schmaus writes:
Dear all,
I'd like to create a scheme function with one ly:music argument which
does the following: insert the music expression at the current place
and display the source code (ie the argument passed to the fun
dNames \changes
}
\layout{
\context { \ChordNames \consists "Percent_repeat_engraver" }
}
doesn't work.
Is this intentional?
Cheers,
Robert
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symbol is part of the
Percent_repeat_engraver.
Cheers,
Robert
Am 11/30/12 10:12 AM, schrieb Xavier Scheuer:
Hi,
Try "Double_percent_repeat_engraver".
Cheers,
Xavier
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https://lis
To be honest, I was surprised that you could name a Devnull context, but
... there it is...
Hope that helps,
Robert
On Tue, Dec 11, 2012, at 02:01 PM, Maarten de Keijzer wrote:
Hi,
I am trying to create a sheet for choir accompaniment, and have
arranged chord names above the pianostaff with my o
You can put the syllables you would like to be treated as a single
syllable in quotes, e.g.
text = \lyricmode{ "ta ta ta" la la }
That will treat the first "ta ta ta" as a single syllable ...
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htt
I see two options:
1) Instead of using \chd with your proper chords in it, you could just
create a dummy chord voice like
dummy = \chordmode { \repeat unfold n { c1 } }
and use that to associate the Lyrics Staff with. That way you definitely
have one "stop" per measure.
I don't really ge
e lilypond without
knowing much (or anything, if I understood you right ..) about it ...
and it doesn't take very long to understand the basics covered in there.
AND you'll be able to write much better ly files - that sequencer source
code looks kinda horr
ut your chords in an ordinary Staff to see the notes.
>
> Best, Robert
>
>
>
> On 6 Feb 2013, at 13:40, bart deruyter wrote:
>
>> Hi all,
>>
>> I've searching for a way to add 'add9' chords to my own version of
>> predefined
Hi Bart,
> - c:9 produces a C9, including the seventh, (sorry Robert Schmaus, I just
> tested it)
Oh ... I think there have been some changes from the previous stable
version (2.14) then. I had the problem that I could *not* produce 11 or
9 chords - I always got the "add9" or
, and have a nice sunday,
Robert
PS: Here's the code from the documentation, so you don't have to copy it
together again:
\version "2.16.0"
fragment = \relative c'' {
a4 d8 bes8
\new ImproVoice {
c4^"ad lib" c
c4 c^"undress"
c
Hi Eluze,
> the Rhythmic_column_engraver seems missing - if you add it
>
> \consists "Rhythmic_column_engraver"
>
> is your output correct and you get rid of the warnings?
That works like a charm! Thanks a million!
Best,
Robert
> please always answer to the list, so everybody can follow what's going on!
I know - and I usually do (that's why I've re-sent my answer to the list right
away). I seem to belong to that fraction of list contributors who struggle with
the concept of "clicking 'Reply' replies to the sender onl
version.
Best,
Robert
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ried to compile lilypond from git source on linux mint and
found the - ERROR: Unable to find file "lily.scm" in load path -, too.
I could solve this by doing "sudo make install" in the directory, where
lily.scm resides, but then i got other issues. Finally i deleted the
own
Just a thought:
You can have a Staff (or Voice) accept ChordNames. If you managed to do
something like this
\new Staff <<
\new Voice \chords
\new Voice \melody
>>
where the melody voice is (a copy of) the voice containing the ottavas,
and then make all staff symbols and the melody voice tran
Hi everyone,
I'm looking for a command to calibrate the Midi output to (e.g.) a' =
442 Hz. Does anyone know if that is possible at all?
Thanks & greetings,
Robert
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Hi Shane,
that's quite possible, and surely the reason there's nothing to be found
on the subject.
Thanks for your suggestions, I will look at these!
Best,
Robert
Am 3/6/13 10:10 PM, schrieb Shane Brandes:
Ought that not to be the midi players responsibility? I would use
some
yntax of
\relative { r4 a'' a f c }
where a'' is absolute would become
r4 a'' \relative{ a f c }
Quite readable ...
Best,
Robert
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gt; converted
> the midi file to an audio file.
That's an excellent idea, actually, thank you! Ultimately, I will need
the music as mp3 anyway, for my stereo to play it.
I didn't know Audacity could import Midi - I'll try that out asap (i.e.
next week, sigh).
Thanks everyone for their
On Fri, Mar 8, 2013, at 09:06 AM, David Kastrup wrote:
> Robert Schmaus writes:
>
> > Hi everyone,
> >
> > I haven't read all posts on this subject, so sorry should I write
> > something that's already been written.
> > Why not keep the \rela
jazz lead sheets anyway
...
Best,
Robert
On Thu, Mar 14, 2013, at 11:36 AM, Torsten Hämmerle wrote:
> Hello all,
> I've just noticed the my last mail didn't get through to the list for
> some reason. Well, here it is again in a second attempt:
> In the first place: I
that piece of code into a "general layout file"
containing some of your preferences, and include that into every piece
you write ...
But I'm sure there are more fancy things one could do with midi.scm ...
Best, Robert
Am 3/17/13 10:03 PM, schrieb Eluze:
\context {
Try placing that context definition in the \midi block rather than the
\layout block.
That was my first try too, but, again, it worked only when I used Staff
instead of GrandStaff. And then it didn't matter if I placed it in the
layout or in the midi block ...
On Mon, Mar 18, 2013, at 09:16 AM, David Kastrup wrote:
> Robert Schmaus writes:
>
> >> Try placing that context definition in the \midi block rather than the
> >> \layout block.
> >>
> >
> > That was my first try too, but, again, it worked only whe
Hi Ben,
just add
\context {
\Staff
\override Stem #'transparent = ##t
\override Flag #'transparent = ##t
}
to the layout block. If there's anything else you'd like to hide, just
set the respective property transparent as well ...
Best,
Robert
I play and typeset a lot of latin american music which has a lot of
syncopation which makes this particlar scene appear quite often.
Maybe I got used to something non-standard but it still seems more logical
to me to omit the tied accidental and treat the measure as if there was no
line break.
I write music that is not strictly tonal, and years ago I adopted the
convention of always using the same enharmonic spellings. So my chromatic
scale goes: c cis d ees e f fis g aes a bes b. I never write something like
an A sharp or a G flat.
Of course Lilypond doesn't know about my silly ideas
Thanks, works great!
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ansparent.
Note also that all those overrides will simply make the objects
invisible, but the overall spacing will not change. I.e. there's space
reserved for the flags &c. that one doesn't see ...
Best,
Robert
On 5 May 2013, at 11:32, Peter O'Doherty <mailto:m...@pet
Have you tried \cadenzaOn and \cadenzaOff?
Best, Rob
> On 18 Aug 2015, at 14:08, BB wrote:
>
> I tried to hide the bar lines and was very successful with two methods that
> work. (If that are good ones a cannot decide.)
>
> I found that
> \hide BarLine
> \hide SpanBar
> hide but let the s
hide c''2.\downbow \hide c''2.\upbow }
>>
Adjust the spacers to whatever you desire.
And sorry, I can't test this right now, but it should work.
Best, Robert
__
Truth does not change according to our ability to stomach it.
-- Flannery O'Connor
> On 27 Aug
Hi Paul,
I forgot two more remarks:
1) great ponding!
2) you should be careful with sending potentially copyrighted material in a
list. Not sure if this applies here, but ...
Best, Rob
__
Truth does not change according to our ability to stomach it.
-- Flannery O'Connor
> On 27 Aug 2015,
{ c'''' c''''}
\new Voice { s\upbow \hide c''''\downbow}
>>
(Or look at lilybin.com/n6fwdk/1)
Cheers, Robert
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But I probably should have used \hideNotes instead of just \hide ...
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and thus place the bow command
next to the non-hidden note. yours is right on top of it.
Best,
Rob
Am 27/08/15 um 20:06 schrieb Simon Albrecht:
> Hello Robert and Paul,
>
> Am 27.08.2015 um 17:44 schrieb Robert Schmaus:
>>
>>> Note the use of ‘s’, a spacer rest, which
a full bar rest in a 2/4 context, placed in the middle
&c.
Another difference: R1 * 4 specifies 4 consecutive 4/4 full bar rests, whereas
r1 * 4 specifies a single rest whose duration is quadrupled.
It's all covered in the notation manual, of course ..
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